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Journal articles on the topic 'Modern painting - Spain'

Author: Grafiati

Published: 4 June 2021

Last updated: 4 February 2022

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1

Vitagliano, Maria A. "Painting and Poetry in Early Modern Spain: The Primacy of VenetianColorein Góngora’sPolyphemusandThe Solitudes*." Renaissance Quarterly 66, no. 3 (2013): 904–36. http://dx.doi.org/10.1086/673586.

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AbstractLuis de Góngora’sFable of Polyphemus and Galatea(1612) andThe Solitudes(1613) have inspired comparisons to painting ever since they first appeared in manuscript form at the Court of Philip III. Engaging the doctrine ofut pictura poesis, which notes the kinship between painting and poetry, Góngora creates pictorial conceits modeled in color as if using a painter’s palette, and thus his poems read like imaginary art galleries. By way of both plastic and discursive references to the Venetian school, Góngora inserts his poetry into one of the most salient polemics of his time, theparagone

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Cline, Sarah. "Guadalupe and the Castas." Mexican Studies/Estudios Mexicanos 31, no. 2 (2015): 218–47. http://dx.doi.org/10.1525/mex.2015.31.2.218.

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A mid-eighteenth-century casta painting by Luis de Mena uniquely unites the image of the Virgin of Guadalupe and casta (mixed-race) groupings, along with scenes of everyday life in Mexico, and the natural abundance of New Spain. Reproduced multiple times, the painting has not been systematically analyzed. This article explores individual elements in their colonial context and the potential meanings of the painting in the modern era. Una pintura de Luis de Mena sobre las castas, de mediados del siglo xviii, reúne de manera singular la imagen de la Virgen de Guadalupe, los agrupamientos de casta

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White, Noel. "Time in the Aesthetic Dimension of Visual Art." KronoScope 8, no. 1 (2008): 29–39. http://dx.doi.org/10.1163/156852408x323201.

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AbstractIn the spring of 2006 the English artist Noel White met the author J.T. Fraser while staying with friends near Cordoba, Spain. Lively discussion arose between them prompted by a reading of a paper by the social scientist Barbara Adam, which argues for the recognition of a moral dimension in political decisions. What follows here is an essay based on their conversation. The essay does not comment directly on Adam's arguments, but extends the question of the moral dimension to White's own area of expertise, the visual arts. Through an analysis of aspects of the history of modern painting

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Galperín, Karina. "The passion according to Berruguete: painting theAuto-da-féand the establishment of the inquisition in early modern Spain." Journal of Spanish Cultural Studies 14, no. 4 (2013): 315–47. http://dx.doi.org/10.1080/14636204.2013.916028.

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Lychkovakh, V. A. "PHILOSOPHY OF ETHNOCULTURE – ЕТНNОCULTUROLOGY – ЕТНNОCULTUROGRAPHY". UKRAINIAN CULTURAL STUDIES, № 1 (2) (2018): 20–25. http://dx.doi.org/10.17721/ucs.2018.1(2).04.

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The article investigates interrelation between philosophy of ethnoculture, ethnoculturology and ethnoculturography as components of modern culturological discourse. Aim of the article is to extend the idea about the structure of modern culturological knowledge and, in particular, to analyze how philosophy of ethnoculture, ethnoculturology and ethnoculturography correlate with each other. In connection with this there is an important task − to ground the notion of ethno-culturalography as a discourse of science and art, in particular the discourse in which ideas, archetypes, signatures and valu

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Gas Barrachina, Silvia. "Revisión de la figura femenina en la España Moderna a través de su representación en la pintura = Review of the female figure in Modern Spain through her representation in painting." FEMERIS: Revista Multidisciplinar de Estudios de Género 3, no. 1 (2018): 49. http://dx.doi.org/10.20318/femeris.2018.4073.

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Resumen. El arte, en este caso la pintura, constituye una fuente histórica que permite el estudio de la situación de las mujeres en determinados contextos históricos. Ninguna obra es creada de forma inocente, sino que está condicionada por la mirada de la persona que la produce. La pintura, en su dimensión vitalista, comprende una respuesta estética a una realidad en la que infieren de forma consciente o inconsciente la identidad del artista, así como el espacio político, social y económico en el que se desarrolla. De la misma forma ocurre con la repetición de temáticas y modelos de representa

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Valladas, Hélène, Edwige Pons-Branchu, Jean Pascal Dumoulin, Anita Quiles, José L. Sanchidrián, and Maria Ángeles Medina-Alcaide. "U/Th and 14C Crossdating of Parietal Calcite Deposits: Application to Nerja Cave (Andalusia, Spain) and Future Perspectives." Radiocarbon 59, no. 6 (2017): 1955–67. http://dx.doi.org/10.1017/rdc.2017.120.

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Abstract14C and U/Th methods were used to date three thin carbonate layers deposited on decorated walls of Nerja Cave (Malaga, southern Spain) in order to constrain the age of the parietal non-figurative marks situated under these carbonate layers. Modern formations were also dated to estimate the detritic contribution for the U/Th method and the dead carbon proportion for 14C dating. We sampled two locations with ocher painting marks. In one case (mark 1), the good agreement between the ages obtained by the two methods suggests that the sample was not subjected to post-deposition alteration a

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Pittarello, Elide. "Ramón Gaya: "Creo que soy poeta pintando"." Monteagudo, no. 26 (March 12, 2021): 191–208. http://dx.doi.org/10.6018/monteagudo.472781.

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Simónides de Ceos, que definió la poesía una pintura que habla y la pintura una poesía muda, contribuyó al origen de la filosofía del arte, base de la moderna estética occidental. Para el filósofo italiano Benedetto Croce el arte es la síntesis estética de la intuición y la expresión a través del lenguaje lírico. Encarna las representaciones de la belleza, un evento universal, ajeno a la Historia y a la crítica de arte. De manera más radical, Ramón Gaya rechazó este mismo saber de una manera más radical desde que era un jovencísimo pintor, decepcionado por las vanguardias. Su planteamiento de

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9

Setem, I. Wayan. "Intercultural Balinese Painting from the Classic to the Modern." Mudra Jurnal Seni Budaya 25, no. 3 (2010): 246–57. http://dx.doi.org/10.31091/mudra.v25i3.1561.

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   This article examines the representation mode painting like a change parallel to the profound transformation of the technical or theoretical knowledge, and also parallel to changes in the Balinese society values due to the physical evolution and the evolution of the system of values. In fact, within one century of painting it has been like moving from the classical, traditional, standard, homogeneous, local, and collectively turned into a painting that has been varied, heterogeneous, individual, and internationally with a modern twist. These waves of change occurred in the

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10

Filipek, Małgorzata. "Hiszpania w Dziennikach z podróży Miodraga Popovicia." Slavica Wratislaviensia 166 (June 22, 2018): 49–67. http://dx.doi.org/10.19195/0137-1150.166.4.

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Spain in Miodrag Popović’s travel diariesIn addition to well-known works about Spain, written by prominent writers and diplomats of the Kingdom of Yugoslavia Zorić, Dučić, Petrović, Dimitrijević, Andrić, Crnjanski, Serbian literature is full of less famous fiction that has complemented the country’s image through Serbian readers since the 70’s of 20th century to the present. One of them is a literary work Put u Španiju from the travel book, entitled Putopisni dnevnici, by Miodrag Popović. The writer describes impressions from a trip to Spain and other countries. Visiting the most famous museum

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11

Gjesdal, Kristin. "Imagining Hedda Gabler: Munch and Ibsen on Art and Modern Life." Text Matters, no. 7 (October 16, 2017): 71–86. http://dx.doi.org/10.1515/texmat-2017-0004.

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Among Edvard Munch’s many portraits of Henrik Ibsen, the famous Norwegian dramatist and Munch’s senior by a generation, one stands out. Large in scope and with a characteristic pallet of roughly hewed gray blue, green and yellow, the sketch is given the title Geniuses. Munch’s sketch shows Ibsen, who had died a few years earlier, in the company of Socrates and Nietzsche. The picture was a working sketch for a painting commissioned by the University. While Munch, in the end, chose a different motif for his commission, it is nonetheless significant that he found it appropriate to portrait the No

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Nikitin, Andrii. "ART PROSPECTION OF YURI RUBASHOV." Research and methodological works of the National Academy of Visual Arts and Architecture, no. 28 (December 15, 2019): 124–29. http://dx.doi.org/10.33838/naoma.28.2019.124-129.

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Rubashov — Honored Artist of Ukraine, Member of the National Union of Artists in Ukraine, Associ- ate Professor of the Department of Drawing the National Academy of Fine Arts and Architecture.Yurii Rubashov was born in Kyiv in 1947. After the end of the RCSU with the name of T. Shevchenko in 1965, he joined KSAI and till 1971 he studied in prominent Ukrainian graphists: V. Kasyana, I. Selivanov, V. Chebanyk.The artist turns to historical subjects and initiates graphic cycle, dedicated to the history of Kiev Rus and the activities of the kings who influenced the historical passing of events of

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Garcia, Christian Graziani, and Neyde Yukie Murakami Iha. "An interdisciplinary experience on the development of Dye-Cell technology." International Journal of Photoenergy 3, no. 3 (2001): 137–41. http://dx.doi.org/10.1155/s1110662x01000162.

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Under a special program supported by the University of São Paulo (USP) for the development of strategic fields of research, interdisciplinar discussion on the development of photovoltaics and energy technology has been established. Several aspects concerned to solar energy and PV technology were discussed in regular meetings along a year by professionals of different domains. As a result of the program, a collaborative work on the deposition ofTiO2films employed in photoelectrochemical solar cells has been established between theLaboratory of Inorganic Photochemistry and Energy Conversionat th

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14

Geist, Valerius. "Of reindeer and man, modern and Neanderthal: A creation story founded on a historic perspective on how to conserve wildlife, woodland caribou in particular." Rangifer 23, no. 5 (2003): 57. http://dx.doi.org/10.7557/2.23.5.1681.

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A review of successful systems of wildlife conservation, the North American included, suggests that broad public support and determined effort by volunteers is essential for wildlife conservation. Since North American wildlife conservation is the only large-scale system of sustainable natural resource use, and exemplifies the great economic and cultural benefits of a renewable resource held in common, its lessons may be profitably applied to Rangifer conservation. Animals that have value are surrounded by myths that tell of their relationship to humans. In our Anglo-American culture reindeer a

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15

Jiang, Lili. "Research on Geographical Positioning of Ancient Map." Abstracts of the ICA 1 (July 15, 2019): 1–2. http://dx.doi.org/10.5194/ica-abs-1-151-2019.

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<p><strong>Abstract.</strong> The ancient map has a large span of history, diverse types and rich content. Therefore, comprehensive analysis and summarization of ancient maps and geographical location in different categories are conducive to obtaining more ideal geographical correction results. How to classify the ancient map classification suitable for geographical correction, and then carry out targeted geographic coordinate correction is the primary research content of this research. The geographic reference and geographic reference of the map are the main factors determin

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16

Trezise, Bryoni. "What Does the Baby Selfie Say? Seeing Ways of ‘Self-Seeing’ in Infant Digital Cultures." M/C Journal 20, no. 4 (2017). http://dx.doi.org/10.5204/mcj.1263.

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IntroductionWhen a baby girl born in Britain was endowed with the topical name ‘Hashtag’, a social media post decried the naming, and a media storm followed. Before she was even home from hospital, headlines were at the ready: “Did a mother really just name her child Hashtag?” (Nye) and “Baby Hashtag: has the search for original names gone too far?” (Barkham). Trollers were also poised to react, offering: “The first name is REALLY dumb. And you're even dumber,” prompting a rejection of the baby’s name as well as her ostensibly ill-equipped parents (Facebook). Dubbed a “Public Figure” on her Fa

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17

Nyman, Micki. "The Disabled Body in Julie Taymor’s Frida." Disability Studies Quarterly 30, no. 3/4 (2010). http://dx.doi.org/10.18061/dsq.v30i3/4.1274.

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18

Kuang, Lanlan. "Staging the Silk Road Journey Abroad: The Case of Dunhuang Performative Arts." M/C Journal 19, no. 5 (2016). http://dx.doi.org/10.5204/mcj.1155.

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The curtain rose. The howling of desert wind filled the performance hall in the Shanghai Grand Theatre. Into the center stage, where a scenic construction of a mountain cliff and a desert landscape was dimly lit, entered the character of the Daoist priest Wang Yuanlu (1849–1931), performed by Chen Yizong. Dressed in a worn and dusty outfit of dark blue cotton, characteristic of Daoist priests, Wang began to sweep the floor. After a few moments, he discovered a hidden chambre sealed inside one of the rock sanctuaries carved into the cliff.Signaled by the quick, crystalline, stirring wave of sou

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19

Rahman, Mohmin. "Is Straight the New Queer?" M/C Journal 7, no. 5 (2004). http://dx.doi.org/10.5204/mcj.2446.

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He is, surely, the only heterosexual male in the country who could get away with being photographed half-naked and smothered in baby oil for GQ and still come over as an icon of masculinity. (GQ October 2002. Article on Beckham as GQ’s Sportsman of the Year, 264) Indeed. Let us tear our thoughts away from the image of David basted in oil and consider the extract as one of innumerable examples of the media fascination with Beckham. Given his penetration in Europe, Asia, Latin America and Africa, we can take as self-evident that Beckham is a quantifiably significant figure in contemporary global

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20

Hill, Benjamin Mako. "Revealing Errors." M/C Journal 10, no. 5 (2007). http://dx.doi.org/10.5204/mcj.2703.

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   Introduction  In The World Is Not a Desktop, Marc Weisner, the principal scientist and manager of the computer science laboratory at Xerox PARC, stated that, “a good tool is an invisible tool.” Weisner cited eyeglasses as an ideal technology because with spectacles, he argued, “you look at the world, not the eyeglasses.” Although Weisner’s work at PARC played an important role in the creation of the field of “ubiquitous computing”, his ideal is widespread in many areas of technology design. Through repetition, and by design, technologies blend into our lives. W

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21

Lawrence, Robert. "Locate, Combine, Contradict, Iterate: Serial Strategies for PostInternet Art." M/C Journal 21, no. 1 (2018). http://dx.doi.org/10.5204/mcj.1374.

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We (I, Robert Lawrence and, in a rare display of unity, all my online avatars and agents)hereby render and proclaim thisMANIFESTO OF PIECES AND BITS IN SERVICE OF CONTRADICTIONAL AESTHETICSWe start with the simple premise that art has the job of telling us who we are, and that through the modern age doing this job while KEEPING UP with accelerating cultural change has necessitated the invention of something we might call the avant-garde. Along the way there has been an on-again-off-again affair between said avant-garde and technology. We are now in a new phase of the new and the technology und

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22

Gorman-Murray, Andrew, and Robyn Dowling. "Home." M/C Journal 10, no. 4 (2007). http://dx.doi.org/10.5204/mcj.2679.

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   Previously limited and somewhat neglected as a focus of academic scrutiny, interest in home and domesticity is now growing apace across the humanities and social sciences (Mallett; Blunt, “Cultural Geographies of Home”; Blunt and Dowling). This is evidenced in the recent publication of a range of books on home from various disciplines (Chapman and Hockey; Cieraad; Miller; Chapman; Pink; Blunt and Dowling), the advent in 2004 of a new journal, Home Cultures, focused specifically on the subject of home and domesticity, as well as similar recent special issues in several othe

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